Thalia.
Where be the sweete delights of learning's treasure
That wont with Comick sock to beautefie
The painted Theaters, and fill with pleasure
The listners eyes and eares with melodie;
In which I late was wont to raine as Queene,
And maske in mirth with Graces well bescene?
O! all is gone; and all that goodly glee,
Which wont to be the glorie of gay wits,
Is layed abed, and no where now to see;
And in her roome unseemly Sorrow sits,
With hollow browes and greisly countenaunce,
Marring my joyous gentle dalliaunce.
And him beside sits ugly Barbarisme,
And brutish Ignorance, ycrept of late
Out of dredd darknes of the deepe Abysme,
Where being bredd, he light and heaven does hate:
They in the mindes of men now tyrannize,
And the faire Scene with rudenes foule disguize.
All places they with follie have possest,
And with vaine toyes the vulgare entertaine;
But me have banished, with all the rest
That whilome wont to wait upon my traine,
Fine Counterfesaunce, and unhurtfull Sport,
Delight, and Laughter, deckt in seemly sort.
All these, and all that els the Comick Stage
With seasoned wit and goodly pleasance graced,
By which mans life in his likest image
Was limned forth, are wholly now defaced;
And those sweete wits, which wont the like to frame,
Are now despizd, and made a laughing game.
And he, the man whom Nature selfe had made
To mock her selfe, and truth to imitate,
With kindly counter under Mimick shade,
Our pleasant Willy, ah! is dead of late;
With whom all joy and jolly merriment
Is also deaded, and in dolour drent.
* * * * *
But that same gentle Spirit, from whose pen
Large streames of honnie and sweete Nectar flowe,
Scorning the boldnes of such base-borne men,
Which dare their follies forth so rashlie throwe,
Doth rather choose to sit in idle Cell,
Than so himselfe to mockerie to sell.
But the most remarkable of these pieces is a satirical fable, Mother Hubberd's Tale of the Ape and Fox, which may take rank with the satirical writings of Chaucer and Dryden for keenness of touch, for breadth of treatment, for swing and fiery scorn, and sustained strength of sarcasm. By his visit to the Court, Spenser had increased his knowledge of the realities of life. That brilliant Court, with a goddess at its head, and full of charming swains and divine nymphs, had also another side. It was still his poetical heaven. But with that odd insensibility to anomaly and glaring contrasts, which is seen in his time, and perhaps exists at all times, he passed from the celebration of the dazzling glories of Cynthia's Court, into a fierce vein of invective against its treacheries, its vain shows, its unceasing and mean intrigues, its savage jealousies, its fatal rivalries, the scramble there for preferment in Church and State. When it is considered what great persons might easily and naturally have been identified at the time with the Ape and the Fox, the confederate impostors, charlatans, and bullying swindlers, who had stolen the lion's skin, and by it mounted to the high places of the State, it seems to be a proof of the indifference of the Court to the power of mere literature, that it should have been safe to write and publish so freely, and so cleverly. Dull Catholic lampoons and Puritan scurrilities did not pass thus unnoticed. They were viewed as dangerous to the State, and dealt with accordingly. The fable contains what we can scarcely doubt to be some of that wisdom which Spenser learnt by his experience of the Court.
